Acoustic Dimensions believes that we have the opportunity to be in the forefront of developing an open source international industry standard for BIM in AVL and Acoustics.  So, Thursday consultants from our Dallas, San Diego and New York offices—along with some of the major contractors in our industry—connected to discuss how BIM is changing the way we do business and the potential going forward for our trade as a whole.

Casey Sherred—part of InfoComm’s BIM Task Force—led the discussions which explored changes in existing processes and the promise that building information modeling offers for integrated design.

It isn’t uncommon for members of our team to go to lunch together.  It also isn’t uncommon for lunch conversations to drift to the theoretical side of our work. 

Earlier this week, two of our consultants were speaking with admiration of one of their mentors.  They said things like “They don’t make acousticians like that anymore. He was old-school.”  The conversation drifted to the way acoustics was done years ago and how things had changed.  There is a perception that “back then” acousticians had to rely on their own ingenuity and experience, because there were no computer programs to rely on.  After all, when Nicholas Edwards began his first studies for the Meyerson Symphony Hall in Dallas, he used bits of string and push pins to physically map the sound paths—which helped him determine where to place the walls.

With all the technology available to us these days, it is still the fundamental laws of physics that dictate what we do.  (Though even acousticians might have to take a step back to remind themselves periodically that F=MA.)  Most acousticians—even those of us fully immersed in technology—agree that there is no substitute for experience.  Because in addition to the practical physics, there are still elements that are subjective.  After all, at the end of the day it is all about how the client experiences sound within the space, be it stanzas of a symphony or something less glamorous like plumbing noise traveling through walls.  

The shoe company Converse is opening a recording studio called Rubber Tracks in Williamsburg, Brooklyn that lets artists record for free. Acoustic Dimensions worked with the designers at A+I Architecture to incorporate a control room, studio, and isolation room in an existing warehouse building for Converse’s showcase recording production suite.   Ron Eligator and Ken Andria used their broadcast facility experience to provide critical input on overall space planning layouts, room shaping and room finishes for these spaces.

http://www.nytimes.com/2010/10/10/arts/music/10brand.html?_r=1&hp

http://play.converse.com/play/blog/?p=2809

On the site of the former Bethlehem Steel Turn and Grind Shop, ArtsQuest and PBS 39 are developing a 21st century town square where history, culture, education and the arts will intersect with technology and celebration. Acoustic Dimensions is working with Spillman Farmer Architects on a four-story Performing Arts building which will include a 530 seat cabaret style music venue, a 4,000 sf community room and a two screen art cinema, and is planning to open by May 2011. The center will be built on the new Twenty-First Century Town Square and will be designed to meet LEED silver compliance.

LEED® Status: Pursuing LEED Silver Certification

Architect: Spillman Farmer Architects

AD Scope: Acoustics | Room Design │ Sound Isolation │ Noise and Vibration Control

Rendering Credit: Spillman Farmer Architects

http://articles.mcall.com/2010-10-06/entertainment/mc-lvmusic0steelstax-20101006_1_croc-rock-steelstacks-allentown-s-crocodile-rock-caf

One of the things about having a flexible workspace is that it is well…flexible. Which means that fixed systems aren’t always ideal. 

When we began setting up our existing video conferencing system in the new building, we decided it would work better in the space if it were mobile. While there are some 'off the shelf' units, we didn't want to spend a fortune. So, Steve Reed—one of our senior consultants (and our own local MacGyver)—assembled a portable video conferencing system using items we had around the office.

The parts were an IKEA cabinet, 1”x2” 80/20 aluminum modular framing from Grainger, casters from Harbor Freight (no job is complete without a least one trip) and miscellaneous screws and hardware. He mounted our 40” flat screen monitor to the IKEA cabinet using the modular framing and enclosing the Polycom system within.  The camera is mounted on top of the video screen and the Polycom microphone and speakers sit on top of the cabinet.  Total cost for the parts that we didn’t have were about $50. ($200 if we had started from scratch and of course the cost of a monitor and Polycom system.)

The result is a simple, elegant solution that can be rolled into any conference room and quickly connected to power and the network.

No, they are not students!  Each is an adjunct professor at schools in the San Diego area teaching courses on Tuesday evenings. Jeff Miller makes his debut appearance at the Art Institute of San Diego teaching the Science of Sound II – an advanced course designed to teach the physical behavior of sound in outdoor and indoor environments.  Vance Breshears teaches Fundamentals of Architectural Acoustics at The New School of Architecture and Design. Both professors will be presenting course material that includes sound theory and hearing, sound sources, noise criteria, reverberation, room acoustics, noise control, reduction, absorption, diffusion and sound transmission.